Van Halen Partners with Mobile Fidelity Sound Lab & Warner Records …

The folks at Mobile Fidelity are set to release new, high quality pressings of the Van Halen catalog — the David Lee Roth years, at least — over the next year or so, and karate kicked it into motion earlier this month with an Ultradisc One-Step edition of the Southern California quartet’s 1978 self-titled debut. At the time, this album was the great leap forward for a group that cut its teeth in the backyard party circuit and nightclubs of L.A. What elevated them beyond the rabble was the dual presences of Roth, the consummate frontman, and the god of the electric guitar, Eddie Van Halen. Produced by Ted Templeman, Van Halen remains one of the greatest debut albums of all time — a cocksure ode to backseat lovin’, runnin’ with the devil and, well, ice cream. As expected, the MoFi team have breathed new life into these 45 year old rockers, with a welcome boost to Michael Anthony’s underappreciated bass work (listen to him rip it up on album closer “I’m On Fire”) and ample room for EVH’s solos to tear through the speakers like swipes of a katana.

As wonderfully excellent as the source material was, this release is magical. It’s quite likely the best vinyl recording that I have ever listened to. The sound is breathtaking.

Listening to it almost makes me forget about the $257 CAD that I spent to get it to Toronto..

Reasonably sure that I’ll be back for the next 5.

Any word on when Amazon will stock the first VH MFSL SACD?
Thanks!

Mine arrived over a month ago.

#004379.

I wonder if the SACD / CD will sound as good as the vinyl ?

SACD is back in stock at MoFi

I cannot wait to hear what they’ve done with Fair Warning. It’s the most bass-laden album that the band has ever done.

Mastered from the original analog tapes, pressed on MoFi SuperVinyl, and limited to 7,500 copies, Mobile Fidelity’s UltraDisc One-Step 180g 45RPM 2LP set of Van Halen II lets it all hang out. Never before has the five-times-platinum record sounded as close to Van Halen’s original intent — that of music recorded live in one big room, Marshall amplifiers turned all the way up, and resonating with the purity, excitement, and interaction of three instruments and voices. Since MoFi’s unique SuperVinyl compound allows you to crank the decibels to your wildest desires without risking noise-floor interference, prepare to not only hear but feel Van Halen II in your chest.

Every aspect of this 2LP edition veritably takes you to Sunset Sound Recorders and lets you watch Eddie Van Halen, Alex Van Halen, Michael Anthony, and David Lee Roth as they rip through the songs in just a few takes. Created with minimal overdubs and afforded massive dynamics, air-moving energy, and palpable solidity on this audiophile edition, Van Halen II is rock ‘n’ roll at its most direct, straightforward, taut, and electric. Every track pulses with what Eddie Van Halen once referred to as a “vibe, feeling, and pocket” that only these four individuals could establish and maintain.

The premium packaging and gorgeous presentation of the UD1S Van Halen II pressing befit its select status. Housed in a deluxe slipcase, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. Aurally and visually, this UD1S reissue is made for discerning listeners who prize sound quality and production, and who desire to fully immerse themselves in everything involved with the album, from the cover art to the meticulous finishes and, naturally, Eddie Van Halen’s transformative playing and his brother Alex’s pugilist-ready percussion.

Indeed, if ever there was an indication of the spirit and enthusiasm ready to leap from a record’s grooves, it’s the photo montage that originally graced the LP’s back cover. Captured in mid-flight, legs splayed so wide the tips of his feet approach the height of his shoulders, Roth somehow still clutches the microphone stand all the while remaining unconcerned with how his body could possibly stick a safe landing — especially since he’s wearing Capezio dance shoes. The reward for his to-hell-with-consequences stunt: A broken foot and a classic inner-sleeve shot of him standing, cane in hand, as attending nurses come to his aid.

Roth and his mates approach every cut on Van Halen II with like-minded vibrancy, animation, humor, and bravado. Featuring more subtleties than the group’s powerhouse debut, and fuller and smoother tones, the material reflects Van Halen’s soaring confidence and standout musicianship. Van Halen II also puts a brighter spotlight on the still-underrated abilities of Alex Van Halen and Michael Anthony, both of whom stand on equal footing with their more celebrated colleagues. Not that Eddie Van Halen or Roth take a breather.

Introduced with a clinking cowbell and pneumatic riffs that seemingly float on air, the irresistibly catchy and feel-good sway “Dance the Night Away” serves as a benchmark of the one-for-all, all-for-one mentality behind Van Halen II. Arena-bound hooks and pop melodies also emerge on “Beautiful Girls,” a hit whose upbeat sound mirrors its subject matter — and which crystallizes the band’s unique blend of surf-and-sun California temperament and virtuosic technicality. Roth’s rhymed couplets, shoobee-doobee harmonies, and shuck-and-jive deliveries make evident his expert showmanship and desire to entertain. In a brilliant move, the tune also frames the group’s famed debauchery and sexual swagger in understated fashion.

There’s nothing downplayed about the crunchy, swinging, high-times-are-here-again rush of “Somebody Get Me a Doctor,” whose thick, leathery guitar foundation and freewheeling solo — which earns Eddie Van Halen applause from his cohorts — reflect the non-commercial overdrive and progressive force that define a majority of Van Halen II. For further evidence, cue up the rhythmic stop-and-start conflagration that is “Light up the Sky” and dive-bombing “D.O.A.” The latter comes complete with blazing Eddie Van Halen passages whose mean-streak attitude is in line with the song’s punk-reared thrust, outlaw blues, and fugitive mood.

Van Halen II also proves the band reached a crucial point where it could both crack jokes and laugh at itself. See “Women in Love…,” prefaced by Eddie Van Halen’s clean and gentle harmonic-based intro, and boogie-laden “Bottoms Up!,” riding atop Alex Van Halen’s bounding percussion and the group’s trademark splashy harmonies. You can hear the laughter and practically see Roth and Anthony losing it as Eddie Van Halen launches six-string rockets into outer space.

In a turn of pace, the guitarist picked up a nylon-stringed Ovation acoustic to record “Spanish Fly.” Every bit as revolutionary and dizzying as “Eruption” on Van Halen, the instrumental finds him channeling flamenco strains into what Roth properly called “a wall socket. In the middle it sounds like someone speeded up the album to 45 all the sudden, but this guy does it live.” That he did, Diamond Dave. That he did.